Dungeons for the Devil, Dungeons for the Core (Book Version Title: A Different World Dungeon Made with the Devil)

Five days after I ordered him to keep all the information available to paint the ecological painting, I went out to his home because the Lupa one contacted me. He flipped from the back of the ceiling to the storeroom, searched for the notes of the time, and gathered the necessary information. I'm honest with you, nobleman. As long as the upper and lower relationships are tight, it doesn't seem difficult to get along with them. Oh, of course I'm on top.

It is time to organize the information and select those with sufficient information for the drawing. Rupa's desired type was difficult to draw due to lack of information, so he replaced some with another. As much as I complained, I said I resented myself at the time, and I was convinced that I looked remorseful.

The adjustment of the time schedule with the workshop reduced the number of illustrations that could be drawn further, and the Lupa one was completely depressed. When the workshop craftsman told me that I should load the next book, I finally felt better. No, you want me to paint that illustration, too?

In the end, there were five illustrations to be drawn, four beetles and one turtle. I mean, Lupa, do you understand the difference between a turtle and a beetle? Since I became anxious, I inquired about the content of the book (just), but fortunately, there did not appear to be any descriptions that went into the classification. For once, I was asked to explain where I was in charge, but there seems to be no other place where the turtles are likely to fall apart from the fact that they were misidentified as part of the beetle. Since you don't seem to have any awareness of the group called turtlefish in the first place, show and explain the structure of the mouthpiece. The turtle mouthpiece is needle-shaped, isn't it? You, a scholar or something, you don't even know this much? It could have been a mistake to pick this guy.

The remaining four are beetles, but the breakdown was one for Koganemushi Hanam Gri Quail and one for Sidemushi. The problem with Koganemushi Hanamug Kwagatamushi is Sidemushi, as long as you can portray the scenes that each stop at the leaves, flowers, and trunks. Sydemushi are insects that eat corpses enough to write "dead bugs". When I heard what scene you wanted, I said they were gathering at Tanuki's body. No, you, what did you do with Tanuki's body? There's no way I can paint that stuff in the sky.

When I tell him to look for a reference painting in the library or kill Tanuki himself, he says the library doesn't have a book of his own with a crying face. It is good that I put up my chest that I am certain because I read the book in a coarse way, but then I won't answer the question. I told him to come kill Tanuki himself, and when I handed him the fire scratch stick and pointed at the door, he just turned blue and shook a blurb. I have no choice, so I turn it into a structure that is simply on the ground and clouds the tea. Readers won't want to see Tanuki's body, even if it's a painting, just fine.

Now that the rough schematic meeting is over and the grasshopper materials to distribute the insects are available (about time), we are finally getting ready for the insects. Since the hands and feet are stiffened with tatami, they cannot be used for sketching as they are. You need to soften your hardened muscles and return them to a state where your legs can move. I let him bring boiling water and dipped the specimen in it, and Lupa's Azuma made a scene. I tried to shut him up by slapping him in the head, but if I did it now, my skull could go down. To the extent that the iron claw is lightly peeled, the amateur tells him to keep his eyes shut. In an attempt to peek behind Lupa's back, it felt like the maid was getting my wish. Oh, is this idiot always like this? I think I can hang out with that maid.

The insect body is harder than I thought. Softening is going to take some time. I leave this day scrupulously as I leave it. When I left, I asked the maid to prepare a large number of long standing needles because there would be no head insect needles for the exhibition feet.

The next day, the specimen was softening in a good way, so I finally go into exhibition footwork. Wipe off the water (fu), gently remove the dirt with a brush, and stretch the leg over the exhibition foot plate.

Initially, a needle is placed in the gap between the chest and abdomen so that it is sandwiched from both sides and secured to the exhibition foot plate. I'm not going to poke a worm this time. Sometimes it's my flush, but the needle is a little short against the worm. I wish it was a little longer.

After fixing to the exhibition foot plate, position the legs. This time it is not a so-called specimen pose, but needs to be allowed to take a natural attitude when alive. Pose against Lupa's memory. When you have decided to pose, hit the needle on the exhibition foot plate and make sure to snag the leg to secure it. At this time, I would never stab a needle in my leg. Use at least four needles per leg to secure the pose so that the fixation is not (should be) outside.

It is strange when the torso is snugly on the ground, so strike the needle diagonally from side to side under the abdomen so that the abdomen is lifted and secured. In a position where the leg appears to be supporting the abdomen, taking care not to shift the leg position.

Finally, we're done shaping and positioning the tentacles.

Let it dry like this, but there will be no convenient desiccant, and it will probably take more than two weeks for it to dry completely. In the meantime, when I told him to put it in a place where the crows and cats would never hurt him, he brought out Lupa's birdcage. Wisdom turns around like a fool, this guy. If you serve an exhibited specimen in a birdcage - it looks pretty arrogant - it seems convenient for drying. Tell him to hang it with a cloth in a dust-free place and finish the day's work.

I haven't gotten my hands on the painting yet. I get anxious if I'll make it to the due date, but then I retraced and left thinking I wasn't the one to bow my head.

After about twenty days, the specimen drying is over - I was anxious to see if I could make it, so this is the only story I've used sneak alchemy to speed up drying - to make sure it's in good shape and then carefully unplug the waiting needle. I saw an exhibition-footed specimen. Lupa's shabby isn't half way there. Well, I can understand that feeling. She asked me to strip the production procedure, so I told her it was after I finished the drawing and shut her up.

After the final schematic meeting, it's my job. With the material aside and looking at the specimen, I drop the image on paper, thinking of what it was like when I was alive in my head.... I noticed that the room was dark. My joints were tense (frightened) so I stretched them out to finish the day's work. The rest is tomorrow.

They took quite a bit of time to make the specimen, so the painter did it in a big hurry. I can't get out of hand, so I visited Lupa's house early in the morning - the Lupa one was mostly still asleep, but the maids were awake, so I'm not indisposed. Instead, it's just loud when Lupa is around - I kept working on it at night until dark. After about ten days of such black work, I managed to finish five original paintings. Well done, me.

Lupa rewarded Lupa with five gold coins for the production of illustrations, five gold coins for the labor and restraint fees and tuition fees for specimen making, and ten gold coins combined. Fix it to Japanese yen and one illustration for 100,000 yen... Sure, it's a lot of money, but it was a long time in captivity, and it would be subtle compared to the price of dragon leather and knives. It took a lot of work.

... I just figured it would have been quicker if I had taken a photo with a digital camera at the specimen stage and processed it with computer image software... Fool, honestly, how many hand-drawn were you...

Wow... and my hips are about to shatter, but you can't worry about my kids. I put up with it, me.